Applause-Magazine-Issue-12.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Applause-Magazine-Issue-12.Pdf September 1997 Issue 1 2 £2.50 TH E--­ 9 771364 763009 EDI TOR ' S LETTER he con troversial and influential play age nt , Margaret Ram say - who died in 199 1 at the age of 93 - and is the secbject of Peggy, an exemplar)' new biography by Colin C hambers (ret'iewed b)' Rh oda Koenig in the August Arrlause ! tcas outspoken on practically every issue conn ected tvith th e theatre, cmd held dogmatic, albeit contradictor), view:; on life, love, marriage, talent , art and an )' thing else ;:OL I care to name, Critics, 0/ co urse, <I ere eas), targets (though she held in high esteem the late Har old Hobson of the Sill1,l.1:, Ti mes l( hose: o/)inions, on occasion, she unashamedly influenced), Tn -l l1 <.J r~ Clwmb.>rs , p ~ rr " Ramsay felt that cri tics, by definiton, had 'to be punch-drunk (( 'iell 11lJr LJ:! ' !(,dHSe he\ S(l tr so much bad theatre and therefore did not receive secf[icient Il l) l!ri, hllltr, ; , , Ac hc' ' ,lm~ ti me, Ramsay maintained, critics 'need food like the l'es t of us, I h(l ~ L !!l't:lll ,: mr,lIl1\ fu r chem, On the whole they 're ol<.a)' and th e)' hand ow a kind of rough ]IISf! Ce , TIE:, ; r ) [h, theatre ever)' night and see mostly awful things, poor buggers, I'd rather spend un h ';11 :'oJing (l pia )' than sit for ttvo-and-a-half hOecrs watching one, ' Th, Y c' c: I: I-en0 self-res pec ting professional Tet'iewer of any reaso nable dmation who , at r2!!l lhr in <T ~ Jls , does not feel sim ilarly inclined, And who can blame them? The reality of th e sirt!<lW n c, tilu e, our of every ten new plays that open, maybe three or four are worthy of ,H! ~llii ll l1, And of those three or fow', only one might last longe r than it s initial nm, \'dlLlt a bomcs, therefore, to be able to contradict that gloomy statistic wi th a crop of neu' I urk chat WOLcid appear to gzve the lie to the belief that we're presently going through a kind of eh eatrical doldncms, An)' :;eason that can offer in the co urse of a month or so, Patrick Marber's Closer - as fine (I pla)' as I have seen in years - and David Hare's Amy's View, itself (I cele bration of theatre, has to be exceptional. Add to these Marrin McDonagh's The Cripple of lnishmaan, Mark Ravenhill's Shopping and Fucking, Peter Whelan's The Herbal Bed, and Ya smina Resza's Art (translated by Christopher Ham pton) , and )'OU hat'e (I collec tion of contemporary dranuHic writing that does both the commercial and the subsidised sectors proud, Here's 'sufficient nomi:;hmenr' for even the most jaded of critical palates, Hope )'011 had an enjo)'able summ er. SEPTE BE- 10 <:; 7 :<,PP[A .'o f 3 applause SEPTEMBER 1997 ISS UE 12 contents REGULARS OFFSTAGE GOSSIP 6 ONSTAGE REVIEWS 15 DIARY 22 APPLAUSE THEATRE CLUB 23 NED SHERRIN 31 AUDIO BOOK REVIEW 37 BOOK REVIEW 38 NEW FACES lIZA WALKER 41 SPECTRUM DANCE, TV & OPERA 42 OFFSTAGE BROADWAY GOSSIP 49 COMPENDIUM 50 SHOWS THAT MAKE A DIFFERENCE 50 LORD GRADE -\ n ilHdrellce w;ch ,\ ' -lti Coward . p 35 ~m\l) 11 Rllssell [Jelt/c. p.3 ! THE BODY ELECTRA ZOE WANAMAKER MAn WOLF DOOM & GLOOM LOOM SIMON RUSSELL BEALE INTERVIEW THE DAY I MET••• NOEL COWARD ANDRE LEWIS ROYAL WINNIPEG BALLET ADAM LONG INTERVIEW NICKY JOHNSTON stage As RE f\' rn EP llY \\)I'R NOSEY SERVtlNT a few issues leaving office at the end of the month but perhaps breath. Richardson was due into the Lyric tWO years ago, Lord Ll oyd-Webber's Whistle Down the Wind more eXCiting is the prospect of seeing Tom ago with another Chichesrer show, Th e MIser, but it has nO[ been consigned [0 the dustblO and will be Stoppard on JO Octobet. Aftet (1 year of buffeting seems he got bored en route and the production was re worked by ditector Gale Edwards, responsible for from the ptess, Tom may find the public are mote scrapped. Let's hope th"t Pmero's farce about a the current'revival ,,( Je sus Christ Superstar. Wotk intetested in his alleged affait with Mia Farrow judge who escapes a police raid on an tOn but will starr on the show latet this year with a view to than his latest play. One to mi ss will be Arno ld consequently has to tr\' hIS own bmily, keeps hi[n a West End opening on 30 june, The o nl y question W esker who is invited to talk about the new re vival amused long e nough. that remains is where it will be housed. Large sca le of Chips With Everything a t the National. Wesker is musicals don't appear to be having a partic ularly bound to take the oppottunity to ",hinge about the • •• good time of it at the moment, with Superstar ailing fact that no one perfo rms his latest plays and that ALL IS NOT LOST at the Whitehall, despite the ar the Lyceum, Olil'er' otphaned and destitute at there is a cultural conspir;rcy against him. The only residency of Channel 5's The Jack DochErty Show. the Palladium and Grease due to , lip off in january. genuine conspiracy against Wesker is one founded 1t was tho ught that the venue would 't be used as a The Good Lord seems [0 ha\'e lowered hIS sights for on good judgement. Earlier this yeat the New End theatre agai n until the chat show was axed or Wlli511e Dowl1 th e Wind which is due to open at a ChannelS closed due to lack of intetest. Nl)t so. smallet venue such as the Albery. The programme usua lly fini shes filming at about 7pm and producer Howard Sanditen has decided w • • • ~tQ93e$truck tun The Slow Drag from 9pm. Based o n the true TH F RECOVERY OF JULIA N CLARY'S image continues story of a io n musicion whose own {amtly did nor apace since his careet-rhrecnening and inctedibly know he was a woman until sh e died, the show has funny outburst ahout No rman Lamont's nocturnal DRESS FOR already had cult success on the fringe and will activines a few yeats ago. Ironically, he will be provide id ea l late night fodder. petforming a season at the Vaudeville this THE OCCASION Chri stmas while Lamont will be sitting at home • • • wondering \vhere hIS ow n career went wrong. Character, Period, IT SEEMS THAT THE Rova l Shakespeare Company Pantomime, Suits, will once again be taking over the Young Vic (or a • • • substantial portion of next year. This is a great pIty AMERICA N ACTOR KEVI N SPACEY, mr of The Usual Frocks, Dresswear, - nor because the RSC isn't suited to the venue but Suspects dnd Seven, witlmake his London debut J[ Animal, Showbiz, Cabaret, because many people fo ught tooth and nail in the the Almeida nex t April when he plays the lead role Uniform, Fantasy, early nineties to sa ve the Young Vic as a unique in Howard Davies's production of Eugene O'Neill's producing venue. It now seems to have {allen tOtO The Ic~man Cometh. This looks certain to be one of Wedding and Funeral! the unadventurous trar of becoming 8 receiving the Almeida's "nnlldlmoney-spinners bur Spacey house rhat only produces its own annual and Davies are wking mOre of a risk than one would With accessories to match Christmas show. think. The last time Davies directed The Iceman Cometh ",,1, for the RSC at the Aldwych in the Call Cyril or Alan on • • • mid-seventies. Ian H olm, pla ying the leeman, THE TRANSFER OF DAM N YrlNi.. oES from rhe Adelphi suffeted an astonishing attack of stage fright and 0800 174 114 to the larger Victotia Palace musr go down as on ~ . l didn'r retlltn to the stage {or almost 16 yea ts. rhe great tl1ystenes of rhe commercial theotre. The or visit us at Jetry Lewis vehicle seemed dead in the water ar the • • • 41 Brushfield Street, (otlner venue, r8rely playing to over 60% capacity. THE PROPIJCER5 OF SCISSOR HNPY, opening at the Spitalfields, London E1 6AA Why the producers {eel that the show wil l do better Duchess on 22 October, appeat to he dicing with at a bigger, less central venue is beyond me. Then death, CW at leas t duelling with the British tendency 4 minutes walk from again, making a mUSi cal out ofT S Eliot's feline to \\'~rd s apath". The comedy thriller has bee n Liverpool Street Station poems always struck me as a daft idea. adapted frnm Shear Madness, the longest running non-musical in America, in which a female pianist Mail Order and • • • is murdered in " hairdtess ing sa lon . The catch is courier service available Finolly, Apollo Leisure has avoided the problem <11 that the audience pbys the d etective and is al lowed having a srage covereJ wirh animal excrement in the ask the cast questions in an ~ rtcmpt to teveal the first stage version of Dr Dolilile by hiring jim the murderer. I can imagine a typical British thought it had pulled of( so mething of a coup by Henson Puppets to create all the animals.
Recommended publications
  • Download Cast Sheet
    Did you know? A co-production from In 2018 we had 19,940 screenings around the world. by Stefano Massini adapted by Ben Power directed by Sam Mendes Enjoy the show Cast Creative Team We hope you enjoy your National Theatre Please do let us know what you think Henry Lehman Simon Russell Beale Director Sam Mendes Live screening. We make every attempt to through our channels listed below or Mayer Lehman Adam Godley Set Designer Es Devlin replicate the theatre experience as closely approach the cinema manager to share Emanuel Lehman Ben Miles Costume Designer Katrina Lindsay as possible for your enjoyment. your thoughts. Janitor Ravi Aujla Video Designer Luke Halls Pianist Candida Caldicot Lighting Designer Jon Clark Alternate Pianist Gillian Berkowitz Composer and Sound Designer Nick Powell Connect with us Understudies Co-Sound Designer Dominic Bilkey Music Director Candida Caldicot Emanuel Lehman Ravi Aujla Movement Polly Bennett Mayer Lehman Will Harrison-Wallace Explore Never miss out Associate Director Zoé Ford Burnett Go behind the scenes of The Lehman Trilogy Get the latest news from Henry Lehman Leighton Pugh and learn more about how our broadcasts National Theatre Live straight Broadcast Team happen on our website. to your inbox. Screen Director Matthew Amos ntlive.com ntlive.com/signup Technical Producer Christopher C Bretnall Script Supervisor Emma Ramsay Sound Supervisor Conrad Fletcher Lighting Consultant Gemma O’Sullivan Join in Feedback Use #The Lehman Trilogy and be a part of Share your thoughts by taking our the conversation online. short online survey and enter into a prize draw to win £100.
    [Show full text]
  • Thursday 17 January 2019 National Theatre: February
    Thursday 17 January 2019 National Theatre: February – July 2019 Inua Ellams’ Barber Shop Chronicles will play at the Roundhouse, Camden for a limited run from July as part of a UK tour Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre Justine Mitchell joins Roger Allam in Rutherford and Son by Githa Sowerby, directed by Polly Findlay Phoebe Fox takes the title role of ANNA in Ella Hickson and Ben and Max Ringham’s tense thriller directed by Natalie Abrahami Further casting released for Peter Gynt, directed by Jonathan Kent, written by David Hare, after Henrik Ibsen War Horse will return to London as part of the 2019 UK and international tour, playing at a new venue, Troubadour Wembley Park Theatre, for a limited run in October Olivier Theatre SMALL ISLAND adapted by Helen Edmundson based on the novel by Andrea Levy Previews from 17 April, press night 1 May, in repertoire until 10 August Andrea Levy’s epic, Orange Prize-winning novel bursts into new life on the Olivier Stage. A cast of 40 tell a story which journeys from Jamaica to Britain through the Second World War to 1948, the year the HMT Empire Windrush docked at Tilbury. Adapted for the stage by Helen Edmundson Small Island follows the intricately connected stories of two couples. Hortense yearns for a new life away from rural Jamaica, Gilbert dreams of becoming a lawyer, and Queenie longs to escape her Lincolnshire roots.
    [Show full text]
  • David Yelland Photo: Catherine Shakespeare Lane
    Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Phone: + 44 (0) 20 73360351 Email: [email protected] David Yelland Photo: Catherine Shakespeare Lane Eastern European, Scandinavian, Location: London Appearance: White Height: 5'11" (180cm) Other: Equity Weight: 13st. 6lb. (85kg) Eye Colour: Blue Playing Age: 51 - 65 years Hair Length: Mid Length Stage Stage, Cardinal Von Galen, All Our Children, Jermyn Street Theatre, Stephen Unwin Stage, Antigonus, The Winter's Tale, Globe Theatre, Michael Longhurst Stage, Lord Clifford Allen, Taken At Midnight, Chichester Festival Theatre & Haymarket Theatre, Jonathan Church Stage, Earl of Caversham, An Ideal Husband, Gate Theatre, Ethan McSweeney Stage, Sir George Crofts, Mrs Warren's Profession, Gate Theatre, Dublin, Patrick Mason Stage, Selwyn Lloyd, A Marvellous Year For Plums, Chichester Festival Theatre, Philip Franks Stage, Serebryakov, Uncle Vanya, The Print Room, Lucy Bailey Stage, King Henry, Henry IV Parts 1&2, Theatre Royal Bath & Tour, Sir Peter Hall Stage, Anthony Blunt, Single Spies, The Watermill, Jamie Glover Stage, Crofts, Mrs Warren's Profession, Theatre Royal Bath & West End, Michael Rudman Stage, President of the Court, For King & Country, Matthew Byam shaw, Tristram Powell Stage, Clive, The Circle, Chichester Festival Theatre, Jonathan Church Stage, Ralph Nickleby, Nicholas Nickleby, Chichester Festival Theatre,Gielgud , and Toronto, Philip Franks, Jonathan Church Stage, Wilfred Cedar, For Services Rendered, The Watermill
    [Show full text]
  • Theatre Archive Project: Interview with Derek Paget
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Derek Paget – interview transcript Interviewer: Hannah Dodd 4 December 2007 Stage Manager. Lionel Bart; Peter Brook's King Lear; directors; Dynamo; The Hostage; King Lear; King's Head Theatre; lighting; Joan Littlewood; Oh! What a Lovely War; John Osborne; Howard Panter; Royal Court Theatre; stage management; Theatre Project Company; Theatre Workshop; touring; West End productions; Who's Afraid of Virginia Woolf. HD: Could we begin by discussing how you got into theatre in the first place? DP: Sure. I was a University actor and director and at the latter end of my university career at the University of East Anglia I did a bit of work in the Maddermarket Theatre in Norwich - which is a semi-professional theatre, or it was then, I don’t know if it still is – a professional director and stage manager. Basically they took me on and helped me out and gave me some introductions and I used those contacts to do the usual thing – writing to people saying ‘please will you take me on’ and eventually I got one. HD: And when did you first get involved in the Theatre Workshop? DP: Theatre Workshop was 1971 - I started ’72 sorry: I worked with the lighting designer at the Theatre Royal in 1971, and he alerted me to the fact that there was a job going in early 1972. HD: OK, and how long did you work in that establishment and in the King’s Head Theatre. DP: It was actually quite a brief time working at Stratford East, Theatre Workshop, it was pretty much eight or nine months in 1972 and I was working at the King’s Head during the same time.
    [Show full text]
  • Production Notes
    Version française par www.cittagazze.com Notes de Production Cet article a été traduit par Haku pour Cittàgazze.com. Si vous souhaitez utiliser l'article sur votre site, intégralement ou non, veuillez s'il vous plait faire un lien vers Cittàgazze. Note du scénariste et réalisateur, Chris Weitz. Pour Lyra, l’enfant autour de laquelle tourne La Boussole d’Or, le voyage débute dans la relative sécurité de son Oxford natal et l’emporte au bout du monde. Mon voyage avec cette histoire a démarré à Londres il y a sept ans, quand un ami m’a conseillé de lire les livres de Pullman alors que j’étais dans la relative sécurité du tournage d’un film, Pour un Garçon. J’ai tout de suite su que je voulais transposer ces livres en films. J’étais absolument abasourdi par l’imagination, l’audace et l’intelligence de ces livres. La plume de Pullman va de la vie de tous les jours au métaphysique, et son impressionnante trilogie est un testament au nom de la liberté et du potentiel de l’âme humaine. Les Royaumes du Nord, le premier livre de la trilogie, offre tous ce qu’un réalisateur peut espérer – une histoire captivante, des personnages fascinants, une profondeur psychologique et philosophique, et une très respectable merveille en son cœur. Pour moi, il n’y avait pas de meilleur challenge que de m’y consacrer dans les années à venir. Cela demande beaucoup de courage de voir quelqu’un adapter votre travail pour un autre support, et je suis redevable à M.
    [Show full text]
  • 16 Weeks Only!
    99 PERFORMANCES ONLY! “MAGNIFICENT. A GENUINELY EPIC PRODUCTION. THREE OF THE MOST VIRTUOSIC PERFORMANCES YOU’RE EVER LIKELY TO SEE.” --The New York Times Under the direction of Tony Award®, Academy Award® and Golden Globe winner Sam Mendes (The Ferryman; “1917;” “American Beauty”), a trio of accomplished actors who represent the best of British Theatre – Simon Russell Beale, Adam Godley, Ben Miles – transfer to Broadway after their sold-out runs at London’s National Theatre, West End and New York’s Park Avenue Armory. This New York Times Critic’s Pick is written by Stefano Massini and adapted by Ben Power. On a cold morning in 1844, a young man from Bavaria stands on a New York dockside dreaming of a new life in the new world. He is joined by his two brothers, and therein begins an American tale of ambition. THE LEHMAN TRILOGY brings to light their modest beginnings and enormous successes until, 163 years later, the firm they establish – Lehman Brothers – dramatically collapses into bankruptcy, generating the largest financial crisis in history. The New York Post hails the production as “the must-see event of the year. Do anything you can to get a ticket” while The Wall Street Journal declares, “You should crawl across broken glass to see it.” NEDERLANDER THEATRE 208 West 41st Street New York, NY 10036 Groups 10+ Previews begin September 25, 2021 Opening Night October 14, 2021 Running Time 3 hours, 20 minutes, including 2 intermissions (told in 3 parts, presented together as 1 piece of theatre) Limited Engagement through January 2, 2022 NOTES FROM THE PRODUCTION: This production features instances of flashing lights and some video effects that may cause dizziness.
    [Show full text]
  • TESIS DOCTORAL Luis Martínez Becerra RECEPCIÓN DEL
    TESIS DOCTORAL Luis Martínez Becerra RECEPCIÓN DEL TEATRO DE ESTADOS UNIDOS EN ESPAÑA A TRAVÉS DEL DIARIO EL PAIS: 1976-2016 Dirigida por los doctores Miguel Juan Gronow Smith y Juan Ignacio Guijarro González Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana) Facultad de Filología Universidad de Sevilla Sevilla 2021 Agradecimientos En esta tarea enorme, desarrollada a lo largo de más de cinco años de trabajo y alguno más de recopilación previa de datos, nos hemos topado con no pocos obstáculos, sorteados con gran esfuerzo y dedicación constante. Podría ser muy larga la lista de personas e instituciones a las que le debemos agradecimiento por su contribución de algún u otro modo a esta Tesis. Afortunadamente, hemos recibido el apoyo de allegados, familiares y amigos, que han confiado siempre en nuestro trabajo y alentado su conclusión. Algunas ya no están entre nosotros y es a las que queremos dedicárselo en primer lugar. Vaya a continuación nuestro agradecimiento muy especial a los directores de esta Tesis, los doctores Michael Gronow y Juan Ignacio Guijarro, del Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana) de esta Facultad, que nos han acompañado en su elaboración y revisado con gran interés todos los bocetos de este trabajo. Gracias también por vuestro ánimo y amistad. De paso quisiéramos extender el agradecimiento al Departamento y al Programa del Doctorado que nos han acogido y brindado esta oportunidad. Asimismo, queríamos agradecer la colaboración del Centro de Documentación Teatral del Ministerio de Cultura y de su diligente personal por haber puesto todo su material a nuestra disposición tanto en su sede como a través de todos los medios de los dispone, que no son pocos.
    [Show full text]
  • Fragments 360°
    THEATRE FOR A NEW AUDIENCE FRAGMENTS 360° A VIEWFINDER: Facts and Perspectives on the Play, Playwright, and Production 154 Christopher Street, Suite 3D, New York, NY 10014 • Ph: (212) 229-2819 • F: (212) 229-2911 • www.tfana.org TABLEtable OF OF CONTENTS CONTENTS The Play 3 Overview 4 Interpretations of Beckett’s Texts 6 Beckett’s Characters 7 Theatre of the Absurd 9 Perspectives 11 Selected Performance History The Playwright 12 Biography 13 Timeline 15 Remembering Beckett The Production 16 Director’s Note 17 Cast and Creative Team Further Exploration 19 Bibliography About Theatre For a New Audience 20 Mission and Programs 21 Major Institutional Supporters Notes This play guide will be periodically updated with additional information. Play guide last updated November 18, 2011. Credits Researched and written by: Charles Scott Jones, with contributions from Jonathan Kalb| Compiled and edited by: Carie Donnelson | Edited by Katie Miller and Arin Arbus, with Abigail Unger | Literary Advisor: Jonathan Kalb | Designed by: Milton Glaser, Inc. Copyright 2011. All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this study guide may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers. Some materials published herein are written especially for our guide. Others are reprinted by permission of their publishers. 2 FRAGMENTS 360° THE PLAY: OVERVIEW Fragments from texts by Samuel Beckett In Fragments, Peter Brook and Marie-Hélène Estienne interpret texts by Samuel Beckett, one of the greatest playwrights of the 20th century.
    [Show full text]
  • The Lehman Trilogy
    Park Avenue Armory, in collaboration with the National Theatre and Neal Street Productions, brings The Lehman Trilogy, by Stefano Massini, adapted by Ben Power, and directed by Sam Mendes to the Wade Thompson Dill Hall, following a sold-out run at the National Theatre Master actors Adam Godley, Ben Miles, and Simon Russell Beale will reprise their critically- acclaimed roles March 22 – April 20, 2019 Simon Russell Beale, Ben Miles and Adam Godley in The Lehman Trilogy at the National Theatre. Photo by Mark Douet. New York, NY – September 12, 2018 – In March 2019, Park Avenue Armory – in collaboration with the National Theatre and Neal Street Productions – will present the North American premiere of The Lehman Trilogy. Told in three parts in a single evening, the production will unfold in the 1 soaring 55,000-square-foot Wade Thompson Drill Hall from March 22 through April 20, 2019 in a strictly limited engagement. Directed by Sam Mendes, The Lehman Trilogy weaves through nearly two centuries of Lehman lineage, following the brothers Henry, Emanuel, and Mayer Lehman from their 1844 arrival in New York City to the 2008 collapse of the financial firm bearing their name. Adam Godley, Ben Miles, and Simon Russell Beale play the Lehman brothers, and a cast of characters including their sons and grandsons. As the inaugural production of the 2019 season, The Lehman Trilogy builds on the Armory’s history of presenting bold and engaging theater productions that explore the unexpected possibilities of the cross-genre cultural institution. The world premiere of Stefano Massini’s The Lehman Trilogy opened at the Piccolo Teatro in Milan in 2015.
    [Show full text]
  • 25517 Annual Report
    [Show full text]
  • The Center Presents
    THE CENTER PRESENTS WINTER 2019-20 THE CENTER For ten years, National Theatre Live has brought the best of British theatre to cinema screens around the world. Using state-of- the-art filming techniques, tailored to every play, NTLive brings each performance as it happens, in all its glory. From close-ups that capture every flicker of emotion, to sweeping wide shots of the stage. National Theatre Live broadcast its first theatre production from the National Theatre in London on the 25th of June 2009. The production was Phèdre, starring Helen Mirren. Since the first broadcast in 2009, National Theatre Live has broadcast from 21 stages across the UK and released over 80 titles. Almost 9,000,000 people have watched a National Theatre Live broadcast or screening around the world. Broadcasts have been seen in more than 3,500 different cinemas around the world, in more than 130,000 difference screenings. Though each broadcast is filmed in front of a live audience in the theater, cameras are carefully positioned throughout the auditorium to ensure that cinema audiences get the ‘best seat in the house’ view of each production. Where these cameras are placed is different for each broadcast, to make sure that cinema audiences enjoy the best possible experience every time. Satellites allow the productions to be broadcast live to cinemas throughout the UK, as well as many European venues. Other venues view the broadcasts ‘as live’ according to their time zone, or at a later date. PHOTO FROM SMALL ISLAND The Madness of George III ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– NOV 18 / 7 PM / THE CENTER THEATER ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– By Alan Bennett Alan Bennett’s multi-award-winning drama is broadcast live from Nottingham Playhouse.
    [Show full text]
  • May – Sep 18 How to Book
    May – Sep 18 How to book Online Select your own seat online Travelex £15 Tickets The National Theatre Partner for Innovation nationaltheatre.org.uk Sponsored by in partnership with By phone 020 7452 3000 Mon – Sat: 9.30am – 8pm ® Partner for Learning Founding corporate Partner for Connectivity In person South Bank, London, SE1 9PX supporter for Public Acts Mon – Sat: 9.30am – 11pm Other ways Friday Rush to get tickets £20 tickets are released online every Friday at Outdoor Media Partner Official Airline Official Hotel Partner 1pm for the following week’s performances. of the National Theatre Day Tickets £18/£15 tickets available in person on the day of the performance. Your carrier to the USA and beyond No booking fee online or in person. A £2.50 fee per transaction Official Transport Partners The National Theatre’s Supporter for for phone bookings. If you choose to have your tickets sent by International Hotel Partner New Writing post, a £1 fee applies per transaction. Postage costs may vary for group and overseas bookings. Access symbols used in this brochure Partner for Macbeth on Tour Cloud Services Partner Pouring Partner Captioned British Sign Language Touch Tour Relaxed Performance Lloyds Bank Private Banking Audio-Described Partner for Lighting Sponsor of NT Live and Energy in the UK 2 3 The plays The plays Exit the King Home I’m Darling Julie Absolute Hell Playing from 17 July 24 July – 5 Sep 31 May – 8 Sep Playing until 16 June Hadestown Follies The Lehman Trilogy An Octoroon 2 Nov – 26 Jan Returns from 12 Feb Playing from 4 July 7 June – 18 July Pericles Translations The Star Seekers River Stage 26 – 28 Aug 22 May – 11Aug 8 Aug – 1 Sep 13 July – 12 Aug 4 5 JULY Exit the King Tue 17 7.30 by Eugène Ionesco Wed 18 7.30 in a new version by Patrick Marber Thu 19 7.30 Fri 20 7.30 Sat 21 7.30 Mon 23 7.30 Olivier Theatre Tue 24 7.30 Wed 25 7.00 Thu 26 7.30 Cast includes Somewhere in Europe the kingdom is Sarah Campbell disintegrating.
    [Show full text]